92 . "- I --- ( , s. \ ) Fred Jacobson, well known author/mountaineer, will once again lead special hiking trips to Appenzell, Kandersteg, Murren, pontre-/ sina, Saas-Fee, Sils Maria ( and Zermatt. Spectacular Swiss alpine scenery. Chal- lenging trails. Delightful inns and fine cuisine. For active outdoor people who also like their creature com- forts. Our 14th summer! For information write: Fred Jacobson, Dept. B Chappaqua Travel 24 South Greeley Ave., ... Chappaqua, New York 10514 f'- . ; r .....,.. --- A quiet place a cordial place, Campton Place. k C^MPTON PL^CE H () I r I Where high expectations are qUietly met San Francisco (415) 781-5555 GET A HEADSTART ON COLLEGE. The College Experience is Union's special summer program for high school juniors and seniors. From June 29-August 8, you can earn cOllege credit at our beautiful up- state New York campus. Or, study two weeks here and four in Cambridge, England. Why not find out more? For the continuing pursuit of excellence. Graduate & Continuing Studies Program Wells House. 1 Union Avenue Schenectady, NY 12308. (518) 370-6288 Hart songs, a couple of Harry James recordings, and some Count Basie, as well as Gustav Leonhardt playing Bach. Allen draws the line at high- powered rock, though: part of Holly's coming to her senses is her graduating from the downtown life of CBGB's to classical music. Woody Allen can't seem to get rid of a streak of draggy pedantry; he's still something of a cul- tural commissar. (I could have done without the quick tour of Manhattan's archi tectural marvels that' s included in the movie.) Like Bergman, Allen shows his in- tellectuality by dramatizing his quest for meaning and then shows his profundity by exposing the aridity of that quest. This celebration of family is essentially a celebration of sanity and of belonging to a group-of satis- fying the need for human connections. It's a tribute to human resilience, a look-we-have-come-through movie, and the people who were deeply moved by "Manhattan" are likely to be still more deeply moved by "Hannah." The infertile Mickey even becomes fertile; the picture goes the traditional life-affirming route. Yet what he has come through to is so lacking in reso- nance that it feels like nowhere. "Hannah" is very fluid in the way it weaves the characters in and out; Al- len's modulated storytelling has a grace to it. The picture is certainly better than three-fourths of the ones that open, and it's likable, but you wish there were more to like. It has some lovely scenes-I was particular- ly taken with the one in which Holly and a good friend (played by Carrie Fisher) are out in a car with a man (Sam Waterston) whom they're both interested in, and at their last stop before calling it a night they discuss the logistics of which one he should drop off first. Yet, over all, the movie is a little stale, and it suggests the perils of inbreeding. It might be time for Woody Allen to make a film with a whole new set of friends, or, at least, to take a long break from his senti- mentalization of New York City. Maybe he'd shed the element of cul- tural self-approval in the tone of this movie. There's almost a trace of smugness in its narrow concern for family and friends; it's as if the moviemaker has seen through the folly of any wider concern. Woody Allen has joined a club that will have him, and that may help to ex- plain the awesome advance praise for the film. Like the Robert Benton pic- ture "Kramer vs. Kramer," which FEBRUARY 24, 1986 also stirred up enormous enthusiasm in the press, "Hannah" evokes the "fam- ily Istyle" pages in the Times and all the books and editorials and "Hers" columns about people divorcing and remarrying and searching to find meaning in their lives. It's about peo- ple that members of the press can iden- tify with; it's what they imagine them- selves to be or would like to be. They're applauding their fantasy of themselves. All the vital vulgarity of Woody Allen's early movies has been drained away here, as it was in "Interiors," but this time he's made the picture halfway human. People can laugh and feel morally uplifted at the same time. The willed sterility of his style is ter- rifying to think about, though; the picture is all tasteful touches. He uses style to blot out the rest of New York City. It's a form of repression, and, from the look of "Hannah and Her Sisters," repression is what's romantic to him. That's what the press is ap- plauding-the romance of gentrifica- tion. D IRECTED by Robert Mandel, from a script by Robert T. Meg- ginson and Gregory Fleeman, "FIX" is an ingenious suspense film about a movie special-effects wizard (Bryan Brown), based in New York, who lets himself be bamboozled by a couple of men from the Justice Department's Witness Relocation Program. They hire him to stage the fake assassination of a Mafia boss (Jerry Orbach) in a crowded restaurant, so that this gang- ster can give evidence against his asso-. ciates and be relocated without fear of reprisals. When things don't go ac- cording to what our wizard thought was the plan, he's in the position of the innocent heroes in such Hitchcock films as "The 39 Steps" and "North by Northwest," except that he has all his special skill at creating illusions to aid him in staying alive. He also has the awareness that he has been played for a sap-that the government men flattered him into the trap. Bryan Brown underplays niftily, and Mandel keeps you inside the beleaguered man's consciousness; killers are out to get him, but he doesn't know why, or who they are. (The premise of "FIX" may seem farfetched, but there have been actual cases of special-effects men being asked to stage fake killings; whether any of them have risen to the bait isn't known.) The film has a dark, rich glint to it; much of the action takes place with